COLLAR?)

SOU

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https://archive.org/details/collagesoutheastOOkopf

Catalog Compiled by VICKI KOPF Catalog Design by LEE HANSLEY Printing by VJOOJEN PRINTING COMPANY, INC.

Copyright: 1982

Library of Congress Catalog Number 82-80552 Southeastern Center for Contemporary Art

750 Marguerite Drive Winston-Salem, Northi Carolina 27106

Price: $4.00

For information on the purchase of works in the exhibition, contact the business manager, Southeastern Center for Contemporary Art. Telephone: (919) 725-1904

COLLAGE:

SOUTHEAST

Kaola Allen Judy Voss Jones

Marcia Goldenstein Dale Loy

Anne Hanger Markle

23 April- 1 2 June 1 982 Southeastern Center for Contemporary Art

Winston-Salem, North Carolina

This exhibit is circulated by the Southern Arts Federation and is funded in part by the state arts agencies of Alabama, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee and Virginia, and the National Endowment for the Arts.

Foreword

Collage as a way of making art is used by a large number of artists. Some artists use collage as the only means for creating a piece while others use only elements of collage in their work. The majority of artists is certainly sympathetic to collage; that is to say, many artists collect bits and pieces of what they respond to and find around them. Some directly collage these bits and pieces into their work. Others use these "collections" as a source of inspiration.

Over the past few years SECCA has become aware of a number of working artists using collage as a primary element in their work. We are pleased to organize this show in conjunction with the Southern Arts Federation's touring exhibition program. We acknowledge the assistance of the Southern Arts Federation for the funding which enabled SECCA to produce the catalog and poster which accompany this exhibition.

Vicki Cannon Kopf Curator of Exhibitions

Southeastern Center for Contemporary Art

Kaola Allen

The Apotheosis of Norma Jean

Judy Voss Jones

Blue Zorro

Dale Loy

Brush Series #2

Anne Hanger Markle

Will I Really Die?

Kaola Allen

Born: Education:

Awards: Selected exhibitions:

1 952

B.A., Studio Art and English, 1 974 University of North Carolina, Chapel Hill

Merit Award, 1 981 Charlotte Open Juried Exhibition,

Spirit Square Gallery, Charlotte, North Carolina,

Juror: Barbara Guggenheim, Whitney Museum of American Art

Durham Art Guild's 24th Annual Juried Show, Durham Arts Council, Durham, North Carolina, 1978

One-woman Up Against the Walls, The Art School, Carrboro, North Carolina, 1979

48th Southeastern Competition for Drawing, Photography and Printmaking, Southeastern Center for Contemporary Art, Winston-Salem, North Carolina, 1 980

Collage, Durham Arts Council, Durham, North Carolina, 1 980

The Eye of May Stevens,

Washington Women's Art Center, Washington, D.C., 1 981

1 98 1 Charlotte Open Juried Exhibition, Spirit Square, Charlotte, North Carolina, 1 981

Collage and Drawing, Washington Women's Art Center, Washington, D.C., 1981

Dream Theatre, High Point Theatre Galleries, High Point, North Carolina, 1 981

Birthdays, A Collaborative Room Installation, Center Gallery, Carrboro, North Carolina, 1 982

Ensemble, Green Hill Art Gallery, Greensboro, North Carolina, 1 982

Kaola Allen

T he process of collage making involves collecting materials, then selecting out (literally cutting and tearing), next shuffling and reordering, and finally, connecting the elements (gluing, stapling, tying, sewing, enveloping) to synthesize a new whole. I am drawn to these physical steps as I am drawn to the materials; I want evidence of the process to remain discernible in the finished collage so viewers can retrace the evolution of the work over time.

I use recognizable objects, materials, and images of people for their power as familiar forms which carry specific, though varying, meanings and can stir memories and dreams.

Xeroxed photographs gain heightened contrast and mystery while objects, faces, and hands directly xeroxed acquire a dramatically intimate perspective. I draw on the xeroxes to intensify these effects. Xeroxing is immediate, accessible, and made for multiples.

Repetition implies time and continuity, and grids establish order. But my repeated images vary, insisting on change, and the grids are imperfect or disintegrate at the edges, indicating an order which is not static.

Serial images suggest strips of film, the unfolding of time in space, the telling of a story. It is the opposite of radio-pictures without sound.

Marcia Goldenstein

Born: Education:

Present position: Grants and fellowships:

Awards: Selected exhibitions:

1 948

B.F.A., 1970 University of Nebraska, Lincoln

M.F.A., 1973 University of Nebraska, Lincoln

Assistant Professor of Art, University of Tennessee, Knoxville

Artist-in-residence, Haymarket Gallery, Lincoln, Nebraska, 1975-1976

Faculty Research Grant, University of Tennessee, 1 981

Purchase Award, 35th Annual Fall Show, Sioux City Art Center, Iowa, 1974

Purchase Award, Mainstreams '74, Marietta, Ohio, 1974

Purchase Award, Midwest Biennial, Joslyn Museum, Omaha, Nebraska, 1976

Purchase Award, Delta Annual,

Arkansas Arts Center, Little Rock, Arkansas, 1 978

Purchase Award, 35th Annual Print and Drawing Exhibition, Dulin Gallery, Knoxville, Tennessee, 1979

Juror's Award, National Works on Paper,

East Carolina University, Greenville, North Carolina, 1981

Midwest Works on Paper, Kansas City, Missouri, 1979

Invitational Exhibition, Manaus, Brazil, 1979

35th Annual Print and Drawing Exhibition, Dulin Gallery,

Knoxville, Tennessee, 1979

Southern Exposure, Hanson Gallery,

New Orleans, Louisiana, 1980

9th Annual Print and Drawing Exhibition,

University of North Dakota, 1 980

One-person Exhibition, American Gallery,

Bern, Switzerland, 1 980

One-person Exhibition,

Northern Alabama University, Florence, 1 980

Mixmaster, Kentucky Arts Council Traveling Exhibition, 1 980

One-person Exhibition, Countryside Art Gallery, Arlington Heights, Illinois, 1981

Group Exhibit, Sheldon Memorial Gallery, Lincoln, Nebraska, 1 98 1

Watercolor Southeast, Gulf Coast Art Center, Belleair, Florida, 1 981

Watercolor U.S.A., Springfield Art Museum, Missouri, 1 98 1

Marcia Goldenstein

A

' Approaching landscape symbolically rather than representationally I find that I probe and investigate more about my own responses to a specific place and can isolate aspects of the landscape itself into personally meaningful iconographic forms. Having grown up on the plains of the Midwest, my move to the Southeast provided a turning point in my experience with landscape space. The mountains, an inescapable part of that new environment, have become a preoccupation with me. I want the symbols of those mountains to have the same quality of inescapability, of confrontation, and to evoke the same sense of physical and psychological confinement.

The screen image is by nature confining and provides an illusionistic surface on which to create a feeling for atmosphere and texture. The envelopes on the other hand are containers in which responses are conveyed, through which messages and memoirs are transmitted. The dynamic nature of both forms reflects for me the topographic and psychological characteristics of the region.

These symbols are treated as intimate artifacts, constructed objects which are collaged onto textural fields and arranged symmetrically. By reinforcing the artifact/object with a painted frame, the icon nature of the piece is enhanced and hopefully becomes as inescapable as the mountains themselves.

Judy Voss Jones

Born: Education:

Present position:

Grants and fellowships: Selected exhibitions:

1 949

B.F.A., 1972 University of Georgia

M.F.A., 1976 University of Georgia

Assistant Professor of Art Converse College Spartanburg, South Carolina

South Carolina State Arts Commission Individual Artist Grant, 1981-1982

48th Southeastern Competition for Drawing, Photography and Printmaking, Southeastern Center for Contemporary Art, Winston-Salem, North Carolina, 1 980

More than Land or Sky: Art from Appalachia, National Museum of American Art, Smithsonian Institution, Washington, D.C., 1981

Collage & Assemblage, Mississippi Museum of Art, Jackson, Mississippi, 1981

5th Annual Charlotte Printmakers Competition, Charlotte, North Carolina, 1981

1 98 1 Appalachian National Drawing Competition, Boone, North Carolina

1981 Biennial for Painting and Sculpture,

The Mint Museum of Art, Charlotte, North Carolina

6th National Painting, Drawing and Small Sculpture Competitior Hays, Kansas, 1981

Represented by Kathryn Markel Gallery, New York

Dale Loy

Born: 1934

Education: B.A., History, 1955

Stanford Ur^iversity Palo Alto, California

M.F. A., Painting, 1974 American University, Washington, D.C.

Selected exhibitions: National Annual Small Painting Exhibition,

sponsored by Gallery North, Mount Clemens, Michigan, 1 974

Paperworks, Washington Gallery of Art, Washington, D.C, 1974

Watkins Art Gallery, American University, Washington, D.C, 1975

Goddard College Annual Painting Competition, Elliot Pratt Center, Plainfield, Vermont, 1976

New Faces, Franz Bader Gallery, Washington, D.C, 1976

Textural Renderings, Dimock Gallery,

George Washington University Art Department, 1978

Solo Exhibition, Franz Bader Gallery, Washington, D.C, 1978, 1980

1979 Area Exhibition of Paintings and Graphics, Northern Virginia Community College, Annandale Campus, Juror: Jane Livingston

22 nd Area Exhibition, Works on Paper, Corcoran Gallery of Art, Washington, D.C, 1 980

Asher/Faure Gallery, Los Angeles, California, 1 980

Collage on Paper, the Washington Series, Corcoran Gallery of Art, Washington, D.C, 1 98 1

Collage and Assemblage,

Mississippi Museum of Art, Jackson, Mississippi, 1 981

Dale Loy

I began to use collage in my painting when I was finishing my M.F.A. at American University in Washington, D.C. I was drawn to the medium, as I think many artists have been, for the sense of immediacy it was capable of adding to the painting process. However, the longer I worked with collage, the more I responded to the abstract particularity of the materials I used, and the better I began to understand the sensuousness of surfaces, the unexpected edges and the subtlety of colors gone pale with use.

I have always intended to use collage as a purely abstract element in abstract paintings. I continue to call my work painting even though the pieces may consist almost entirely of collaged elements, with minimal traces of brush-applied paint. I do this because I use the materials solely for their gestural, textural and tonal qualities, never for any polemical or connotative value, as collage materials have frequently been employed in the history of art.

As a consequence, one of the major challenges I meet continually in my collage work results from my need to subdue the informational qualities of time, place and other non-abstract content many of the collage materials necessarily bring with them.

Anne Hanger

Markle

Born: Education:

Present position: Awards: Selected exhibitions:

1951

B.F.A., Design, 1 973,

Maryland Institute, College of Art,

Baltimore, Maryland

M.F.A., Printmaking, 1977, Maryland Institute, College of Art, Baltimore, Maryland

Assistant Professor, Department of Fine Arts, University of New Orleans

Merit Award, Alabama Art League

50th Annual Juried Exhibition,

Montgomery Museum of Art, Alabama, 1979

Group Exhibition, Grimaldis Gallery, Baltimore, Maryland, 1979

LaGrange National V Annual Juried Exhibition, LaGrange Museum, LaGrange, Georgia, 1 980

Southeastern Women's Conference on Art, Juried Exhibition, New Orleans, Louisiana, 1980

Group Exhibition,

Columbus Museum of Art, Ohio, 1 980

Solo Exhibition, LaGrange College, LaGrange, Georgia, 1 980

Contemporary Painting in Alabama, Group Exhibition, Huntsville Museum of Art, Huntsville, Alabama, 1 980

Solo Exhibition, Huntsville Gallery, University of Alabama, Huntsville, 1 982

Anne Hanger Markle

c

^^ollage is a very flexible nnedium. Elements can be arranged and rearranged until the desired results are achieved. It is this flexibility which initially attracted me to the medium. It encourages experimentation and accelerates productivity.

I am aware of a constant, endless supply of visual relationships existing in the world around me, there to be perceived and given meaning. There also exists within my soul many meanings which crave to be given substantial form. It is the fluctuation between these two states of being, experiencing and expressing, which best describes my working process. It is like a kind of dialogue with each act attempting to define and give structure to the other.

In the collage medium, that which is experienced literally becomes the substance of that which is expressed. It is the unique relationship between the medium and the act of creating which has sustained my interest in collage.

Catalog of the Exhibition

Artists are listed alphabetically. All dimensions are in centimeters and are given in order of height, width and depth; dimensions are for the image size only. Works marked with an asterisk are reproduced in the catalog.

KAOLA ALLEN

* 1 . THE APOTHEOSIS OF NORMA JEAN 1 98 1

Collage with Hand-colored Xeroxes and Mixed Media

38.1 X 73.7 X 2.5 cm

2. FAN DANCE 1 981

Collage with Hand-colored Xeroxes and Mixed Media 40.6 X 48.3 X 2.5 cm

3. SURRENDER 1 981

Collage with Hand-colored Xeroxes and Ribbon

76.2 X 55.9 cm

4. STAR QUILT (FOR BACALL) 1 982 Collage with Xeroxes and Mixed Media 90.2 X 81 .3 cm

5. HOME MOVIES 1982

Collage with Hand-colored Xeroxes and Mixed Media 76.2 x 35.6 cm

6. OBJECTS AND ANNOTATIONS 1982 Collage with Hand-colored Xeroxes 76.2 x 55.9 cm

MARCIA GOLDENSTEIN

1 . MEMOIR, SHARP'S RIDGE 1981

Pastel, Acrylic, Handmade Paper and Collage 55.9 x 66 cm

2. MOUNTAIN MEMOIR 1981

Pastel, Acrylic, Handmade Paper and Collage 55.9 X 66 cm

3. CUMBERLAND SCREEN 1 98 1 Pastel, Acrylic, Rice Paper and Collage 69.9 X 1 00.3 cm

* 4. MEMOIR, SOUTHWEST 1982

Pastel, Acrylic, Handmade Paper and Collage 50.8x60.9

5. SOUTHERN MEMOIR 1982

Pastel, Acrylic, Handmade Paper and Collage 55.9 X 66 cm

6. ASHEVILLE SCREEN 1982 Pastel, Acrylic, Rice Paper and Collage 69.9 X 1 00.3 cm

JUDY VOSS JONES

1 . CATMAN MEETS ZULU WOMAN 1981 Collage and Pastel 88.9 X 88.3 cm

* 2. BLUE ZORRO 1 981

Collage and Pastel 69.9 X 82.6 cm

3. AS THE WORLD TURNS 1 982 Collage and Pastel 90.2 X 85. 1 cm

4. I DO IT FOR THE MONEY 1982

Collage and Pastel 66 X 57.8 cm

5. RITA RED EGG 1 982 Collage and Pastel 68.6 X 69.9 cm

6. AMORE S'MORE 1982 Collage and Pastel

66 X 78.7 cm

DALE LOY

1 . PANEL SERIES #2 1981

Acrylic and Paper on Rives BFK Rag Paper 1 2.7 X 26 cm

2. PANEL SERIES #3 1981-82 Acrylic and Paper on Canvas

1 21 .9 X 264.2 cm

3. BRUSH SERIES #1 1981-82 Acrylic and Paper on Canvas

1 27 X 147.3 cm

* 4. BRUSH SERIES #2 1981-82

Acrylic and Paper on Canvas 106.7 X 1 27 cm

5. UNTITLED #15 1 982 Acrylic and Paper on Rag Board 49.5 X 63.5 cm

6. UNTITLED #16 1 982

Acrylic, Paper and Metal on Rives BFK Rag Paper 1 5.9 X 1 7.1 cm

ANNE HANGER MARKLE

1. BLUE THING 1981 Collage and Charcoal 23.2 X 31 .1 cm

* 2. WILL I REALLY DIE? 1981

Collage and Pastel 1 8.4 X 27.3 cm

3. SKY COMPOSITION #3 1981 Collage, Transfer and Pastel 20.3x27.9 cm

4. AN ARCHITECTURE 1 982 Collage, Transfer and Gouache 1 8. 1 X 22.9 cm

5. CLOSED 1 982

Collage, Transfer, Gouache and Watercolor 1 9.7 X 2 1 .6 cm

6. INSIDE AFTER 1 982 Collage, Transfer and Watercolor 1 9.7 X 22.9 cm

STATE LIBRARY OF NORTH CAROLINA

3 3091 00778 4044